CHAPTER XXXVIII.

The Theatre-Number of theatres in London-Famous actors and actressesDisturbances at a theatre-Master Betty, "The Infant Roscius "-His country experience-Puffs preliminary-His first appearance in London-Crowds to see him-Presented to the King and the Prince of Wales-Acts at Drury Lane -His subsequent career.

I`

N the Dawn of the Nineteenth Century, the theatre was

a favourite amusement for the good folks, probably

because there were no other public forms of amusement, if we except an occasional concert or masquerade. The stage supplied this want, and the people took due advantage of it. The audience, through much frequenting, were critically educated, and demanded good acting. This, as a rule, they obtained, partially, as I think, because there were fewer actors, and, consequently, not so many mediocre performers as now, and partly owing to the constant change of performance-there being no "long runs," as we know them, where an actor mechanically goes through the same part for hundreds of nights, until, like Sothern, he absolutely, and unconsciously, adopts his own mannerisms, and spoils himself for a fresh part.

The richer, and titled classes, were not content with witnessing professional skill, but strove to emulate and surpass the performers at their own amateur entertainments, and the most notable of these private societies was the Pic Nic Society.

There were eight Theatres in London, ie., when one or other was not burnt down-namely, The King's, Haymarket; Covent Garden; Drury Lane; Theatre Royal, Haymarket; The Royalty, in Goodman's Fields; Sadlers Wells; Astley's; and the Royal Circus, now the Surrey, on the other side the river.

Of course, as would be only natural, the best actors were at the West-end Theatres, and to show their calibre, one has only to mention such names as John Philip Kemble, Munden, Bannister, Dowton, Elliston, Liston, Mrs. Siddons, Fawcett, Mrs. Jordan, Kelly, Johnstone, Young, Cooke, &c. No wonder, that with such actors, the stage was popular Their names are still a tradition of excellence to the profession, and the performances, with one notable exception, in the O. P. Riots, were listened to with great decorum, and there was a vast improvement upon the rougher manners of the previous century.

I can only find the mention of one fracas in the whole ten years, and the report of that, in the Annual Register, December 26, 1801, shows how very far the audience were from sympathizing with the offender. "At Covent Garden Theatre the holiday folks were inclined to be mischie

vous. As soon as the curtain drew up to commence the play of 'Richard the Third,' a wine glass was thrown on the stage by way of prologue, but without exciting much observation; a few minutes after, determined to attract notice, a quart bottle was thrown from the two-shilling gallery on the stage; it grazed the hat of Mr. Betterton, who was playing Tressel to Murray's Henry VI., knocked out some of the jewels, and, falling on the stage, rolled down to the lamps unbroken. The audience were thunderstruck, the play stood still, and, for a few seconds, every one gazed with amazement. Satisfied of what had been done, a general burst of indignation broke out over the house, and 'throw him over!' 'turn him out!' were vociferated from all quarters. The villain was pointed out by his neighbours, sitting in the front row of the twoshilling gallery. He was seized, the people in the pit, and the boxes, rising up, and considerable agitation prevailed. The fellow, who was drunk, held by the iron railing, and refused to retire. This provoked the resentment against him still more, and the cries of vengeance were loud and general. Three or four laid hold of him, and seemed as if they would drag rail and all away; at last, they succeeded in taking him out of the theatre."

In this decade appeared a theatrical phenomenon—the like of which has never been seen since; in the shape-of a boy, who was endowed with a truly marvellous gift of acting-one Master William Henry West Betty, surnamed

"THE INFANT ROSCIUS.”

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"The Infant Roscius," who was born at Shrewsbury, September 13, 1791. His parents were extremely respectable, and in easy circumstances-so that it was not from need, but from pure inclination, that he adopted the stage as a profession. Whilst yet a child, he was fond of declamation with action, and, before he was twelve, he acted the part Osman in Voltaire's tragedy of Zara, at the Theatre, Belfast. He was, at that time, residing in Ireland, and the theatres, having been closed for some time. previously, owing to the disturbed state of the country, were glad of any attraction when they did open-so Betty took an engagement at the above theatre, for four nights, on the understanding that he was to share the house, after deducting twelve pounds, for the expenses of the house. His first performance was on the 19th of August, 1803, when he was not yet twelve years old. Next day he was the talk of Belfast, and on the other three nights he played Norval, Rolla, and Romeo.

Then he went to Dublin, Cork, Glasgow, Edinburgh, and Birmingham, at which latter place he was heard by Mr. Justice Graham, one of the Board of Management of Drury Lane Theatre. He reported about the infant genius, and proposals were made, which were too low to be acceptable. He was afterwards engaged to play at Covent Garden, and, owing to an informality in the agreement, Drury Lane got hold of him on the intervening nights, at the same salary.

Whoever was his entrepreneur, he did his work well, and

the puff preliminary was very delicately administered. The first notice of this kind that I can find, is in the Morning Herald, August 6, 1804. "A very extraordinary phenomenon has lately burst upon the theatrical world. A boy of the name of Beatie, not exceeding twelve years

A

THE YOUNG ROSCIUS, AS FREDERICK,
IN "LOVERS' vows."

of age, reads and enacts all
the principal of Shakespeare's
characters, in a stile of supe-
riority that astonishes the
most experienced Actors.
He has performed in Ireland,
and is now exciting general
astonishment at Edinburgh.
Off the stage his manners
are puerile, as he is often
seen playing at marbles in
a morning, and Richard the
Third in the evening.
is rather short of his age,

He

slight made, but has great expression of countenance.

The moment he begins to converse upon stage business, he appears an inspired being. He has a pleasant turn for repartee, which makes his company much sought for. The Edinburgh Manager expressed his fears, at first rehearsal, that his voice would not fill the house. My dear Sir,' replied the little hero of the buskin, 'I beg you will be